Tag: Sunday morning

On this coming Sunday I am presenting and performing at the Ableton Live 9/Push Launch event in Melbourne. I’m presenting about the Toy Harmonium instrument I made that was featured on www.ableton.com.

I’ve been busy putting something together to perform at it that uses the Generative piece that I created for the Toy Harmonium Instrument, and I’ve kind of done a bit of a live mashup with a track off my last album Sunday Morning called “Gotta Sleep Now’.

This live version features Live 9, a Livid Block, Teenage Engineering’s OP-1 synth, Live Guitar looping and processing, as well as vocal samples by the wonderful Susannah Legge.

Been a bit quite lately, mainly because of the holiday season and all that has gone with it. Currently enjoying some time off, and re-jigging the studio a bit, getting rid of some old gear (to make way for new gear!)

Taking some time to make some nice little audio sketches that sound a lot like the beginnings of another WP E.P. that i’ll try and get together later this year.

Hey.. just to let you know… that with the new year has come new prices for my music via bandcamp.

All albums are now $5 for digital download or $8 (+shipping) for download and CD copies.

Why you ask??? well… when you buy via bandcamp, it goes straight into the artists pocket!… itunes and other providers all charge a fee, so I am able to sell to you cheaper via this site.

A few people have asked if they can get the remixes in better formats than what iTunes provides, so here they are! All ten of the remixes that are associated with the Sunday Morning album, by wonderful remix artists Montag, 333, Heroine, Chris Brann, AM, Dan West and Ray Mang.

The closing track of Sunday Morning is Gotta sleep now. It’s an atmospheric soundscape created from a series of guitar loops, with additional vocals by Susannah Legge. Originally clocking in around 7mins, it was cut back to a rather short 2:27 so it would fit on the B-side of a (future) vinyl release. In the future I’ll put up an extended mix of it which is closer to the original… or maybe even a live recording of it… it seems to be a bit of a crowd please-er at the gigs we’ve been doing.

Media artist Lucy Benson too on the track for the art exhibition at Dear Patti Smith Gallery. She is currently based in Berlin, and makes works from live video technologies and projected images.

Lucy’s work ‘Time to sleep’ was a highlight at the exhibition, and any on-line video representation of the will not do it justice, as it will not accurately represent the impact of the dark-swirling imagery which sat in somewhat seemless harmony with the music. Photographic images below seem to represent the mood better. (Thanks to Penny Lane and Anna Gilby for the photos)

Lucy writes of the process: “The music of Winterpark invokes a particular feeling of being both utterly present in one moment yet adrift in a dizzying sense of timelessness. Time To Sleep embodies this effect perfectly and also echoes it in the story of the lyrics. The voice floats and ripples through a landscape, sounding not separate from the environment, but as if it flows through every element of it.
My process for this piece was to to make a location study, returning to the same spot day after day and letting the camera observe the natural environment until the elements of that environment transcended their moment and place. The footage is not treated in any way; the abstraction is the result of the conditions of tide, wind and sky coming together on one particular day.”

You’re timing’s all wrong is a quirky sonic experiment, that oscillates between a rather sweet acoustic guitar melody and the wonderfully crazy nebulaphone by bleep labs.

I love crazy musical gadgets and the idea that machines can be chaotic and unpredictable. This is i’m sure why i don’t really want to fix my juno 106… because it sounds so awesome when it’s just a little bit broken.

anyway… back to the track and the work in the exhibition…

Adele Winteridge teamed up with a couple of her pals at Foolscap Studio Elly Russell and Siam Pascale to create the quite beautiful balancing act of “Fine Balance”. A live mobile created from timber, paint, seedlings and wool.

Adele writes of the process: “The song to me is a really happy vibrant song with undertones of a balancing act between the melody and the overriding glitches. It is reminiscent of a sunny day in a car, driving around the hills… or turning your music up really loudly and riding around the streets of Melbourne on your bike. Sun through the trees and wind in the hair.
The piece is a “Calderseque” kinetic mobile that can hang inside or outside. The plants are balanced from different lengths of dowel with coloured wool threaded through them. Each arm holds a seedling, as they grow at different rates (plant variations) they send the mobile into different balancing positions, changing the aesthetic of the piece daily.”

Track 11, Neighbours on ice is definitely the darkest moment on the new album. This track was written as a response to some fairly erratic and insomniac moments from next door. The beat is deliberately off-kilter and guitar noise bursting at the seams… on the edge of losing it.

Trudy writes of her work: In response to the gritty, uneasy texture of Neighbours on ice I have used paper and charcoal to take a three-dimensional rubbing of milk crates – an object commonly associated with laneways and other unnoticed spaces of the urban landscape.
Through this work I am considering how the fragile, temporary representation of these objects might translate as a metaphor for an edgy, alternate state of mind.